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Romantic Music
| Term | Definition |
|---|---|
| absolute music | music without extra-musical or programmatic associations |
| bi-modal | a term describing music that draws upon the characteristic scale degrees of both major and minor modes on the same tonic |
| cabaletta | the second part of a nineteenth-century double aria, with a faster tempo and requiring greater virtuosity from the singer |
| cavatina | the first part of a nineteenth-century double aria, normally shorter and simpler than the second |
| cross-rhythm | simultaneous use of conflicting rhythmic patterns or accents |
| cyclic principle | unifying the movements of a large-scale composition by recurrent use of the same theme; a characteristic Romantic device |
| double-escapement | a mechanism in the piano that holds the hammer at a certain height after it has struck the key, while the key returns; it can now be played again immediately, and the hammer is in position to strike the string sooner than the first time |
| half-diminished-seventh chord | differs from the fully diminished-seventh chord in that its seventh is minor (not diminished) |
| leitmotif | a theme or motive that represents a character, emotion, idea, or even object; ______s are used as short, symbolic musical building blocks in the operas of Wagner and later composers |
| mazurka | a name for a number of Polish dances in triple meter with tempi ranging from slow to fast; those of Chopin are the best-known ones |
| nationalism | a term generally employed in reference to the rise of East-European national musics in the late nineteenth and early twentieth centuries; nationalistic music is characterized by the use of folklike rhythms or melodies |
| nocturne | a lyrical character piece for piano, best represented in the works of Chopin |
| overstringing | also known as cross stringing, an arrangement whereby the bass strings of the piano cross over the other strings |
| parlando | a style of delivering recitative very rapidly with some approximation of speech; features many repeated pitches |
| polonaise | a festive Polish dance in moderate triple meter; several were composed by Chopin |
| rubato | a flexible treatment of tempo in which either the melody is allowed freedom over a steady accompaniment, or the entire texture moves faster or slower at the player's discretion |
| thematic transformation | considerable variation of a recurring theme, especially of its mood and character; a practice employed often by programmatic composers of the Romantic period |
| third relationship | when the roots of adjacent chords are a third apart |
| verismo | realism, a movement in late nineteenth- and early twentieth-century opera, corresponding to a contemporaneous trend towards literary realism |
Created by:
mehrivnak
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